Jennifer Borland, PhD
Jennifer Borland is an art historian specializing in medieval art and architecture, and teaches courses in medieval European and Islamic art history as well as on gender in visual culture at OSU. She received her Ph.D. in Art History from Stanford University in 2006, and joined the OSU faculty in 2007. Borland’s research and teaching interests range from medieval medical and scientific imagery, to medievalism and collecting, materiality, the corporeal experience of objects and spaces, audience and reception, and representations of gender.
She is a founding member of the Material Collective, a collaborative group that seeks to expand the form of and avenues for academic work, in part through prioritizing creativity and adventurousness in art historical research and writing.
- A book on the late medieval illustrated manuscripts of Aldobrandino of Siena’s Régime du corps (“Regimen of the Body”), a popular late-medieval health guide
- co-authored with Martha Easton, “Integrated Pasts: Glencairn Museum and Hammond Castle,” Gesta 57.1 (April 2018)
- co-authored with Karen Overbey, “Diagnostic Performance and Diagrammatic Manipulation in the Physician’s Folding Almanacs,” in a volume titled The Agency of Things in Medieval and Early Modern Art: Materials, Power and Manipulation, eds. Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, and Zuzanna Sarnecka (Routledge, 2017)
With Louise Siddons, "From Hoarders to the Hoard: Giving Disciplinary Legitimacy to Undisciplined Collecting" in postmedieval: a journal of medieval cultural studies 7.3 (2016): 407-420.
“Freeze-framed: theorizing the historiated initials of the Régime du corps,” Word & Image 32.2 (April-June 2016) 235-250
“Unruly Reading: The Consuming Role of Touch in the Experience of a Medieval Manuscript” in Scraped, Stroked, and Bound: Materially Engaged Readings of Medieval Manuscripts, edited by Jonathan Wilcox (Turnhout: Brepols, 2013), 97-114, plates 225-230
“Encountering the Inauthentic” in Transparent Things: A Cabinet, ed. Karen Eileen Overbey and Maggie M. Williams (New York: punctum books, 2013), 17-38
“Artistic Representation: Women and/in Medieval Visual Culture,” with Marian Bleeke, Rachel Dressler, Martha Easton, and Elizabeth L’Estrange, in A Cultural History of Women, vol. 2 of 6 (In the Middle Ages), volume ed. Kim M. Phillips (London: Bloomsbury Academic, 2013), 179-213 (267-271)
“Violence on Vellum: Saint Margaret’s Transgressive Body and Its Audience,” in Representing Medieval Genders and Sexualities in Europe: Construction, Transformation, and Subversion, 600–1530, eds. Elizabeth L’Estrange and Alison More (Ashgate, 2011), 67-88
“Audience and Spatial Experience in the Nuns’ Church at Clonmacnoise,” in Different Visions: A Journal of New Perspectives in Medieval Art (2011), 1-45
“The Forested Frontier: Commentary in the Margins of the Alhambra Ceiling Paintings” in Medieval Encounters 14.3 (Dec. 2008), 303-340
“The Immediacy of Objects: Reassessing the Contribution of Art History in Feminist Medieval Studies” in Medieval Feminist Forum (44.2, Dec. 2008), 53-73.
She has been the recipient of awards from the Kress Foundation, the Mabelle McLeod Lewis Memorial Fund, the Institute for Research on Women and Gender (now the Michelle R. Clayman Institute for Gender Research) at Stanford University, the Oklahoma Humanities Council, the University of Iowa Obermann Center for Advanced Studies, the University of Pennsylvania’s Humanities Forum, and the Humanities Research Center at Rice University.